Academic literature on the topic 'Vienna International Exhibition'
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Journal articles on the topic "Vienna International Exhibition"
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Stamper, John W. "The Industry Palace of the 1873 World’s Fair: Karl von Hasenauer, John Scott Russell, and New Technology in Nineteenth-Century Vienna." Architectural History 47 (2004): 227–50. http://dx.doi.org/10.1017/s0066622x00001763.
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The buildings and landscaped grounds of the nineteenth-century international exhibitions were directly related to the architectural and urban design traditions of the cities in which they were built. At the same time, they possessed idealized qualities that made them innovative and distinct from other contemporary buildings. The result of collaborative planning among architects, engineers, and planning committees, the exhibitions were built to evoke ideal civic settings, their exhibition palaces, pavilions, and gardens forming exemplary complexes that synthesized both invention and tradition. The International Exhibition, the Weltausstellung, held in Vienna, Austria in 1873, was one such event (Fig. 1). Its buildings were both related to the architectural and urbanistic design traditions of nineteenth-century Vienna, and at the same time possessed idealized qualities that were inventive and progressive, marking new technological achievements.
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Albert, Samuel D. "Austria and Hungary at the 1904 St. Louis World’s Fair: A Hint of the End." Journal of Austrian-American History 7, no. 2 (2023): 109–37. http://dx.doi.org/10.5325/jaustamerhist.7.2.0109.
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Abstract This article examines the Austrian participation at the 1904 St. Louis World’s Fair, focusing particularly on the display of art. Spread across two venues, the Austrian Pavilion and the Palace of Fine Arts, the display, with contributions from the Mánes Association of Fine Artists, Society of Polish Artists “Sztuka,” the Hagenbund, and the Vienna Künstlergenossenschaft illustrates the changes taking place in Cisleithanian art at the time, with the emergence and increased recognition of nationally organized art societies, whose very existence questioned the long-standing supremacy of Vienna art institutions. A further contrast is made with the Hungarian art exhibition at the same fair. Unlike the Austrian exhibit, housed in its own free-standing exhibition space, the much more modest Hungarian exhibit was divided in two. Fine arts were displayed in the Palace of Fine Arts, while decorative arts and crafts were displayed in a pavilion built inside of the exhibition hall. The author ends by contrasting the 1904 exhibition spaces with those of the 1900 Paris exhibition.
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Письмак, Юрий. "Viennese vase painted in Dresden (architectural, artistic, stylistic, morphological and structural features)." Arta 30, no. 1 (2021): 54–62. http://dx.doi.org/10.52603/arta.2021.30-1.08.
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The article examines the architectural, artistic, stylistic, morphological and structural features of an old porcelain vase from a private Odessa collection. The unpainted vase was made in 1860s at Vienna Porcelain Manufactory. This vase was painted in Helena Wolfsohn’s studio in Dresden between 1864 and 1878 (?). Helena Wolfsohn lived and worked in a significant center of European civilization, culture and arts of her time. The images are painted on the vase using the technique of manual overglaze painting. Amazingly arranged bouquets of flowers are painted on the turquoise background of the oval-shaped body of the vase, and gallant scenes in the Watteau style are depicted on the white parts of the body. On the bottom of the vase base an underglaze blue mark is applied: a shield. The painting of the vase is notable for a vivid pictorial effect, a successful composition, harmony and restraint of color shades. Similar vases painted at Helena Wolfsohn’s studio were exhibited at the International Exhibition in Sydney (1879) and at the World Exhibition in Melbourne (1880). Decorative porcelain vases play an important role in creating the architectural and artistic ensemble of the interior, whose main compositional principle is architectonics.
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Mesterházi, Máté. "Die Umwertung der Idee der Nationaloper um 1900." Studia Musicologica 52, no. 1-4 (2011): 95–107. http://dx.doi.org/10.1556/smus.52.2011.1-4.7.
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The years immediately following the Austro-Hungarian Compromise (1867) would politically have been the best time to make Bánk bán, Ferenc Erkel’s most important opera known in Vienna, thus launching his work in the German cultural area. However, the plot of Bánk bán and Erkel’s personal attitude regarding the Compromise were probably at that time too much of a sensitive issue. In terms of cultural policy the International Exhibition of Music and Theatre at the end of the 19th century could have presented itself as an opportunity to premiere it in Vienna. Instead, Katona’s Bánk bán was presented. One could have expected that Gustav Mahler would stage Bánk bán at the Vienna Court Opera, as he did Dalibor at the beginning of his period as artistic director. Apparently Mahler did never even consider the idea of its staging which may have been connected with both his personal tastes and the unfavourable memories he had of Budapest. The success of Smetana’s Dalibor in winning a wide recognition on German stages around 1900 as opposed to Erkel’s neglect, may partly be explained by its post-Wagnerian musical language. However, since in the meantime opera houses have again been conquered by Italian belcanto and French grand opéra — the two main operatic styles from which Erkel took his inspiration — stylistic reasons clearly cannot explain why his work remains internationally unknown up to this day. One of the reasons for the lack of success may very well be the over-emphasizing by its Hungarian partisans of the opera’s national qualities instead of its inherent dramatic values.
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Schmidt, Uwe E. "German Impact and Influences on American Forestry until World War II." Journal of Forestry 107, no. 3 (2009): 139–45. http://dx.doi.org/10.1093/jof/107.3.139.
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Abstract Natural resources of North America ensured the existence of German immigrants in the late 17th century. In Pennsylvania and North Carolina, measures for forest protection and sustainable forestry were invoked at an early date. Efforts were based on inventory of the resources and controlled use. During the 18th and 19th centuries, German emigration was boosted by the scarcity of wood. Proto-industry in Germany strongly depended on wood and coal resources, causing negative effects in the forest and environment. Increasing population and developing industrialization devastated the forests. International scientific contact in forestry started during the American Revolutionary War. German influence on American forestry began in 1873, when the Austro-Hungarian government hosted an international exhibition in Vienna. German forest scientists and politicians focused on sustainable forestry and initiated a fundamental forest education system in the United States. An intensive German–American exchange on a professional basis took place until the beginning of World War II. The acquired historical knowledge on this subject demonstrates that German and North American environmental perception had interacted considerably.
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Campo-Bowen, Christopher. "“A Promising, Political Sound”: Epistemologies of Empire and Bedřich Smetana’s The Bartered Bride at the 1892 Vienna International Exhibition of Music and Theater." Musical Quarterly 102, no. 1 (2019): 31–81. http://dx.doi.org/10.1093/musqtl/gdz010.
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Reittererová, Vlasta. "The First Two Viennese Productions of Prodaná nevěsta and Their Performers." Musicalia 8, no. 1-2 (2016): 37–54. http://dx.doi.org/10.1515/muscz-2017-0002.
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Abstract In June of 1892, Smetana’s Prodaná nevěsta (The Bartered Bride) was heard in Vienna for the first time as part of a guest appearance by the Czech National Theatre at the International Musical and Theatrical Exhibition. The clear success of the opera and of the performances of the National Theatre ensemble was reflected in the reviews of the Viennese critics, who were calling for German-language performances of Prodaná nevěsta on the stage of the Court Opera. On the basis of information from the archives of the Court Opera (Haus-, Hof- und Staatsarchiv), one can document the reasons why, as it turned out, the first Viennese (and German-language) stage to produce the opera was the Theater an der Wien in April 1893, and why the premiere at the Court Opera did not occur until three years later. The study also devotes attention to the first performers for both productions of Prodaná nevěsta and to the circumstances of the two Viennese premieres, which opened up the pathway to other stages around the world after a thirty-year delay.
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Grabovich, Tatiana. "INTERNATIONAL LEGAL ASPECTS OF ECONOMIC RESPONSIBILITIES OF STATES." Baltic Journal of Economic Studies 7, no. 5 (2021): 250–59. http://dx.doi.org/10.30525/2256-0742/2021-7-5-250-259.
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The subject of the article is international legal aspects of economic responsibility of states. The aim of the article is to find an answer to the problematic issues of economic responsibility of states and its international legal aspects. Different concepts of economic responsibility are analyzed due to the lack of a unified approach to it both in economics and in related branches of law. It is noted that the institution of economic responsibility is designed to stabilize the relations of socio-economic development, the interests of participants in social exchange and to achieve the goals of sustainable development. From the international legal point of view of understanding economic responsibility, the state bears two types of responsibility – material (economic) and non-material (political). And international legal responsibility of the state is considered as an institution of the law of international responsibility. It is from this point of view the economic responsibility of the state is considered by international lawyers and specialists in the field of international relations. The methodology of the article is based on the fact that there are three basic mechanisms of liability – derivative of property rights, contracts, and torts. Contract law deals with breaches of duty, tort law deals with accidental or intentional injury to persons or property, and property law deals with misappropriation or interference with property rights. It is concluded that the state is the same economic entity in terms of economics as all equal economic entities. However, the applicability of the means of economic responsibility in the international legal aspect is complicated by the immunity of the state with regard to its property. Therefore, there are signs of liability not for all property, but only for that which has certain signs of applicability – use for commercial purposes, connection with the subject matter of the claim. In the aspect of economic responsibility, there is a distinction between immunity from jurisdiction and immunity from enforcement. The problem of differentiation of commercial and state property is outlined, attention is focused on the existence of certain categories of state property, the public nature of which is not in doubt and which are not considered possible for economic (property) responsibility for the conduct of diplomatic and consular activities of their missions, consulates, special missions, etc., whose immunity is enshrined in the Vienna Convention on Diplomatic Relations of 1961; military property, as well as property used for military purposes; property that is part of the cultural heritage of a foreign state or part of its archives, as well as property that is part of an exhibition of items of scientific, cultural or historical significance. It is also concluded that economic responsibility in international law is not always associated with the negative consequences of unlawful behavior, because it can also be applied as a result of lawful behavior, leading to the infliction of harm to other subjects. Thus, the economic responsibility of the state is on the verge of regulation of public and private law. This is its peculiarity and complexity of its application to the state.
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Alekseeva, Irina V. "THE THEME OF MEMORY IN MIKHAIL KOLLONTAY’S TRIO “TEN WORDS OF MUSSORGSKY ON THE DEATH OF VICTOR HARTMANN”." Arts education and science 4, no. 37 (2023): 44–52. http://dx.doi.org/10.36871/hon.202304044.
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In the spiritual life of a person, remembrance plays a significant role. The resurrection of the priceless past experience of one’s own and someone else’s opens the way to comprehension of the present, one’s own Self. Artists strive to reflect the amazing ability of a person to cross the border of the real and sacred worlds in memory. In the musical art of the second half of the XXth — early XXIst centuries, the theme of memory is embodied through a dialogue of compositions from different eras, traditions, concepts. In this vein, the article examines the unique composition by our compatriot and contemporary Mikhail Kollontay “Ten Words of Mussorgsky on the Death of Viktor Hartmann” for piano, cello and violin. Created in the wake of Mussorgsky’s piano cycle “Pictures at an Exhibition” and the International Competition and Festival of Arts in Vienna (1993), the trio embodies the journey of human memory along the paths of the afterlife. Reflecting the aesthetics of postmodernism and not belonging to the sphere of sacred music, the composition is devoted to the key themes of “life and death” and “salvation through repentance” for the Russian Orthodox consciousness. It intricately intertwines intra- and extramusical components (title, titles of plays, quotations from literary sources, artistic artifacts, comments in the author’s letters, etc.), which form a dialogue between the “alien” and the “own”, the past and the present, the secular and the spiritual. The analysis of the timbro-sonic side, intonation vocabulary, thematicism and its compositional and dramatic organization reveals vivid signs of the poetics of memory. They build an original concept of the trio, which demonstrates its enduring value in the Russian and, wider, world cultural space. The article is addressed to professional musicians, postgraduate students and specialists in the field of musicology.
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Santos, Raquel, Ana Claro, Ana Serrano, Maria João Ferreira, and Jessica Hallett. "Textiles, Trade & Taste—Portugal and the World: A Project on the Global Circulation of Textiles and Dyes." Textile Museum Journal 47, no. 1 (2020): 187–95. http://dx.doi.org/10.1353/tmj.2020.a932820.
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Abstract: Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network’s artistic and historical research has ranged from collating archival material to stylistic and iconographic studies, with the aim of placing textile objects in their historical, artistic, technological, and sociocultural contexts. Chemical analysis and characterization of dyes, textile fibers, and precious metal threads have provided important evidence for identifying the origins of raw materials and finished textiles, and for developing improved conservation treatments for their preservation for future generations. Recent research has examined the global circulation of dyes in the early modern period, especially reds, and also reconstructed the production and consumption of Indian, Chinese, and Portuguese embroideries and Islamic carpets. In 2011, TTT’s work led to the classification of three “Salting” carpets as national treasures in Portugal. The team members have collaborated with national and international museums, including Museu Nacional de Arte Antiga and Calouste Gulbenkian Museum (Lisbon), as well as Abegg-Stiftung (Riggisberg), The Metropolitan Museum of Art (New York), Musée des Tissus, (Lyon), Museum für Islamische Kunst (Berlin), Museum für angewandte Kunst (MAK) (Vienna), Rietberg Museum (Zürich), Rijksmuseum (Amsterdam), George Washington University Museum and The Textile Museum (Washington, D.C.), National Gallery of Art (Washington, D.C.), and Victoria and Albert Museum (London). The team’s art historians contributed to the platform “Museum With No Frontiers” to develop the online exhibition Discover Carpet Art involving Portuguese museums. TTT’s scientists have strong links with the Freer Gallery of Art and Arthur M. Sackler Gallery (National Museum of Asian Art, Washington, D.C.), University of Zaragoza (Spain), Rijksdienst voor het Cultureel Erfgoed (Cultural Heritage Agency of the Netherlands, Amersfoort), and the University of Amsterdam. We have been encouraged by the positive response of the international community to the results of our initial research projects.
Dissertations / Theses on the topic "Vienna International Exhibition"
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Couturier, Claire. "Une fin de siècle viennoise entre invention d'une tradition, tensions esthétiques et science de la musique : l'exposition internationale de théâtre et de musique de 1892." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA139.
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Ce travail constitue la première thèse intégralement consacrée à l’exposition internationale de musique et de théâtre qui s’est tenue à Vienne en 1892. Il s’inscrit dans la continuité des recherches menées sur les expositions universelles et analyse le cadre général de l’exposition depuis sa genèse jusqu’à sa clôture, la scénographie, les différents événements et les principaux acteurs afin d’en comprendre le fonctionnement, la densité mais aussi la complexité. Une place importante est accordée aux échos que l’exposition rencontra dans la presse autrichienne et française. Parallèlement, il associe une étude des enjeux identitaires de l’exposition avec une analyse du point de vue de l’histoire de la vie musicale et de l’histoire des sciences musicales. Les contradictions entre l’idée de départ du projet et sa réalisation finale sont prises en compte, tout comme la diversité du public, la place des peuples de l’Empire ou encore celle des pays lointains présentés dans la section ethnographique. Ces interactions permettent d’aborder la « culture viennoise » comme réponse aux tensions de la fin de siècle et d’analyser les procédés mis en œuvre pour la définir. La question de la réception de l’exposition soulève aussi celle de la mise en scène du passé viennois et d’une tradition viennoise revisitée (reconstruction du vieux Vienne, renaissance du théâtre populaire) face aux transformations issues de l’industrialisation et de la transformation de la société. En croisant ces approches, il s’agit d’analyser en profondeur les enjeux et les conséquences de ce projet, dans le cadre d’une histoire culturelle sensible à leur dimension politique, artistique et scientifique<br>This work is the first thesis entirely devoted to the international exhibition of music and theater organized in Vienna in 1892. It is in line with the research carried out on universal exhibitions and analyses the general framework of the exhibition from its genesis to its closure, the scenography, the various events and those involved in order to understand its functioning, its density but also its complexity. An important place is given to the repercussions that the exhibition will have on the Austrian and French press. This thesis aims at the same time to combine a study of the identity issues of this exhibition with analysis from the point of view of the history of musical life and the history of musical sciences. The contradictions between the initial idea of the project and its final realization are taken into account, as well as the diversity of the public, the place of the peoples of the Empire or that of distant countries presented in the ethnographic department. These interactions make it possible to approach “Viennese culture” as a response to the tensions of the end of the century and to analyse the processes used to define it. The question of the reception of the exhibition also raises the question of the staging of the Viennese past and a revisited Viennese tradition (reconstruction of the old Vienna, rebirth of popular theater) in face of the transformations resulting from industrialization and the transformation of society. By joining these approaches, it will be possible to analyze in depth the stakes and consequences of this project, within the framework of a cultural history responsive to their political, artistic and scientific dimension
Books on the topic "Vienna International Exhibition"
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Pemsel, Jutta. Die Wiener Weltausstellung von 1873: Das gründerzeitliche Wien am Wendepunkt. Böhlau, 1989.
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Birchall, Emily. Wedding tour: January-June 1873 and visit to the Vienna Exhibition. A. Sutton, 1985.
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Bob, Hertzberger, and Sloot Peter 1956-, eds. High-performance computing and networking: International conference and exhibition, Vienna, Austria, April 28-30, 1997 : proceedings. Springer, 1997.
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1849-1923, Nordau Max Simon, ed. Zwischen Bazar und Weltpolitik: Die Wiener Weltausstellung 1873 in Feuilletons von Max Nordau im Pester Lloyd. Frank & Timme, 2011.
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Gröger, Roman Hans. Wege in Wien 1873: Zum 140. Jubiläum der Weltausstellung. Verlag Berger, 2012.
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Wien, Architektur Zentrum, Wiener Architekturseminar (3rd : 1992 : Vienna, Austria), and Wiener Architekturseminar (4th : 1993 : Vienna, Austria), eds. Stadteinfälle: 14 internationale Projekte für Wien = City invasions : 14 international projects for Vienna. Birkhaüser, 1994.
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Vietnamerica Expo '94 (Hanoi, Vietnam). Vietnamerica Expo '94: First international exhibition of American products in Vietnam organized by VIIC (Vietnam Investment Information & Consulting : official catalog. Vietnam Investment Information & Consulting, 1994.
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Baird, Christina. Showcase Britain: Britain at the Vienna World Exhibition 1873. Lang AG International Academic Publishers, Peter, 2018.
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Baird, Christina. Showcase Britain: Britain at the Vienna World Exhibition 1873. Lang AG International Academic Publishers, Peter, 2018.
Find full textBook chapters on the topic "Vienna International Exhibition"
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Watanabe-O'Kelly, Helen. "Showcasing the Empire." In Projecting Imperial Power. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198802471.003.0009.
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The second half of the nineteenth century and the first half of the twentieth were remarkable for large-scale international exhibitions of agricultural products, manufactured goods, technological inventions, and artworks that were staged in major cities in purpose-built buildings and visited by very large numbers of people. These events were demonstrations of national pride, functioned as engines of modernity, and promoted the global exchange of knowledge, global competition, and global trade. The chapter discusses how Napoleon III used the Paris exhibitions of 1855 and 1867 to promote himself and his Empire and how Franz Joseph engaged in international diplomacy during the Viennese world exhibition on 1873. Pedro II used his prestige to promote Brazilian exhibits in Paris in 1862 and 1857, in Vienna in 1873 and in Philadelphia in 1876.
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Jackson-Beckett, Michelle. "Einfacher Hausrat." In Vienna and the New Wohnkultur, 1918-1938. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198879497.003.0002.
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Abstract This chapter argues that the commodifications of “simple” living and rural vernacular furniture were used as propagandistic tools by the Viennese furniture trade and related magazines, organizations, and retailers in constructing new and refashioning old definitions of Austrian modernity. Specifically, they hoped to sell the idea of Viennese charm to an international audience and shore up cultural and economic stability in the wake of World War I. The centerpiece of this effort was a series of exhibitions titled Einfacher Hausrat (Simple Household Goods) that took place at the Austrian Museum of Art and Industry between 1916 and 1921. Designers such as Hugo Gorge, Rudolf Lorenz, and Fritz Kruh sought comfort in a historicist mélange of styles, reinterpreting neoclassical, baroque, rococo, British Arts and Crafts, and Biedermeier forms in home furnishings. Socialist critics, incensed by the exhibitions’ high prices, argued that Einfacher Hausrat only paid lip service to supporting the dire needs for affordable home furnishings, while in reality the exhibitions served the growing market of luxury export furniture.
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Jackson-Beckett, Michelle. "Introduction." In Vienna and the New Wohnkultur, 1918-1938. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198879497.003.0001.
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Abstract The Introduction orients the reader in the world of modernist discourse in European design, applied arts, and Wohnkultur, beginning with celebrated earlier explorations of Viennese modernism known as the Wiener Moderne taking place during the turn of the twentieth century. Taking into account the precursors of the Wiener Moderne, such as the Vienna Secession (founded 1897) and the Viennese Workshops (founded 1903), and key figures in architecture and design such as Otto Wagner, Adolf Loos, Josef Hoffmann, Koloman Moser, Oskar Strnad, the Introduction argues that Vienna’s interwar explorations of modernism are defined by several key debates about the definition of modernism in Viennese cultural history. Viennese applied arts should be understood as a diverse landscape of designers and architects working in a mélange of styles and approaches, not easily defined under a single movement or style. These discourses clashed in both aesthetic and theory with other modernist discourses circulating around Europe, notably the De Stijl movement, the Dessau Bauhaus, Russian Constructivism, and French Purism. On the international level, Vienna’s approach to modernism remained largely independent of neighboring European experiments in modern living and design, and illustrated a skepticism of avant-garde aesthetics that pervaded the showrooms of interior design and home furnishing firms, the pages of local magazines and newspapers, and the galleries of interior design exhibitions.
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Berghaus, Günter. "Enrico Prampolini‘s Theatrical Career Inthe 1920s." In Italian Futurist Theatre 1909-1944. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198158981.003.0019.
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Abstract With his successful production of Matoum et Tevibar, his well-publicized contribution to the Teatro del Colore season at the Teatro Argentina, and the Synthetic Theatre bill in Prague, Prampolini had staked his claim to a position in the top rank of European avant-garde theatre design. In the following years he undertook concerted efforts to build on these achievements and to consolidate his reputation in the European art world. I mentioned above in Part II, Chapter 7 his collaboration with the Dadaists in Zurich, his contacts with Albert-Birot ‘s journal SIC, and the propagandist function of his own magazine Noi. At his Casa d ‘ Arte he ran a ‘Boite d ‘art futuriste: Club per la propaganda e lo sviluppo dell ‘arte italiana e internazionale contemporanea ‘ and organized major exhibitions of the German Novembergruppe and the French Section d ‘Or. In the following years he intensified his collaboration with a variety of avant-garde journals in Europe (e.g. Der Sturm, L ‘EspritNouveau, De Stijl, Het Overzicht), continued the publication of Noi, and acted as art critic of the Futurist-Fascist newspaper L ‘impero. He became a member of the International Society of Modern Art in Berlin and New York, the International League of Avant-garde Artists in Rotterdam and the International Union of lntellectuals in Paris. These contacts bore fruit when he was invited to exhibit in Geneva, Berlin, Paris, Prague, Dusseldorf, Amsterdam, London, New York, and Vienna.
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Shneer, David. "The Aftermath of GRIEF." In Grief. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923815.003.0004.
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This chapter is engaged with photography’s fundamental challenge: it is both documentary evidence, in which the camera is a tool of a technician, and a work of art, in which the click of the shutter is but one step on the road to creating an art photograph. It opens with Baltermants’s soaring career with Izvestiia until June 1942, when he was fired for mislabeling a photograph of a blown-up tank and was sent to a penal battalion that fought at Stalingrad. The experience nearly cost him his life. After the victory by the Allies, photographs were used as evidence in war crimes trials, including Baltermants’s. At the end of the war, he returned to photographic preeminence. After Stalin’s death, he became a leading documenter of global Soviet power under Nikita Khrushchev. He took pictures in Vietnam, India, and China, and his work appeared in domestic and international art exhibitions.
Conference papers on the topic "Vienna International Exhibition"
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Beidinger, Andreas, Volker Schuller, and Kurt Decker. "High Risk Exploration in a Hypermature Hydrocarbon Basin: An Example from the Vienna Pull-Apart Basin, Austria." In Abu Dhabi International Petroleum Exhibition & Conference. Society of Petroleum Engineers, 2019. http://dx.doi.org/10.2118/197145-ms.
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Svejda, G., A. Theil, J. Marksteiner, and G. Lavicka. "Long term operational experiences with fluid-filled and polymerised polyethylene 110 KV cables in Vienna." In 20th International Conference and Exhibition on Electricity Distribution (CIRED 2009). IET, 2009. http://dx.doi.org/10.1049/cp.2009.0540.
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Kromoser, Benjamin, and Johann Kollegger. "Using Ice to Build Shell Structures." In SNAME 10th International Conference and Exhibition on Performance of Ships and Structures in Ice. SNAME, 2012. http://dx.doi.org/10.5957/icetech-2012-173.
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Over the last few years different methods for building shells by using a combination of pneumatic formwork and post-tensioning technologies have been investigated at Vienna University of Technology. The idea behind all these construction methods is to build ice shells with double curvature originating from an initial plane plate. The various construction methods will be presented and the experiments on spherical shells with base diameters of approximately 10m will be described.
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Payrhuber, Klaus, and Hermann Halozan. "Dynamic Instabilities in Natural-Circulation Evaporators of Vertical HRSGs." In ASME 1997 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/97-gt-324.
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Dynamic instabilities become increasingly one of the design criteria for natural-circulation evaporators in Heat Recovery Steam Generators (HRSGs) of combined cycle power plants, especially in systems with a vertical gas duct. To calculate such instabilities, the computer program DEDYN is being developed. The calculation method has been presented at the ASME Cogen-Turbo Power 1995 in Vienna (Payrhuber, 1995). This publication deals with modeling of a natural-circulation evaporator. The evaporator investigated in this paper consists of 340 parallel finned tubes in 4 layers of 16 meters (total tube length of one tube is 64 meters) and a total heat transfer surface of 16400 square meters. This heat exchanger bundle of a HRSG with a vertical duct is divided in 8 sub-ducts, which permits a calculation with local heating medium (= flue gas) temperatures. The inlet and outlet headers of this bundle are connected to a drum. Several variations have been investigated like changing the operation pressure, different heights of the drum, subcooling when entering the downcomer, as well as parallel flow or counter flow through the evaporator tube bundle. The paper shows the boundary conditions for preventing or at least damping mass flow oscillations in the evaporator.
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Oughanem, Rezki, Thomas Gumpenberger, Jean Grégoire Boero-Rollo, et al. "A Core Flood Test-Program Performed with a Pilot-Skid to Quantify the Permeability Decline Induced by Real Treated Produced Waters Also Containing Degraded Polymer or Not." In Abu Dhabi International Petroleum Exhibition & Conference. SPE, 2021. http://dx.doi.org/10.2118/207633-ms.
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Abstract A water treatment pilot skid called WaOω has been developed by TotalEnergies to test the efficiency of the centrifugation technology in treating the produced water containing back produced polymer. In case of success, this technology would be implemented on field and the water quality targeted by the technology must allow re-injecting the treated produced water in matrix flow regime for pressure maintain and sweep efficiency. The same interest was expressed by OMV and a partnership project has been built. It was also agreed that OMV builds a second pilot skid called PRT that allows carrying out core flood tests onsite to assess the formation damage and related permeability decline that could be induced by the treated produced water. Both pilot skids have been implemented, connected to each other, and tested during more than one year on the OMV's Matzen oil field nearby Vienna where degraded polymer is already back produced by wells and present in the produced water. More than seventy core flooding tests have been performed in different centrifugation conditions in terms of speed and water qualities, some of them on high permeable sand packs representing the field targeted by TotalEnergies and some others on consolidated sandstone samples of lower permeability representing OMV reservoirs. The effect of adding fresh polymer to the treated produced water for EOR purposes has also been investigated. Some complementary core flood tests have also been performed in TotalEnergies labs using reconstituted sand packs and produced waters with and without polymer to understand the contribution of the degraded polymer alone, the produced water quality alone and both to understand the formation damage and some uncommon results observed with the PRT pilot skid. Core flood tests data often obtained on long injection periods revealed of a high quality, reliable and reproducible. They also showed that even if centrifugation seems to be a good technology, the very clean and transparent water that it delivered induced surprisingly some core permeability declines the origin of which would be discussed in this paper. However, it was clearly established that the presence of degraded polymer has a cleaning effect and limits the formation damage induced by the produced water injected on cores if the Total Suspended Solids in the treated water remains at an acceptable level. Adding fresh polymers limited even more the formation damage because their cleaning effect is more pronounced than with degraded polymer.
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Hinsch, Ralph. "Indications of Deep Marine Fans in the Early Miocene Foredeep of Lower Austria: A Potential New Play." In Abu Dhabi International Petroleum Exhibition & Conference. SPE, 2021. http://dx.doi.org/10.2118/208133-ms.
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Abstract The petroleum province in Lower Austria resulted from the Alpine collision and the subsequent formation of the Vienna Basin. OMV is active in this area since its foundation in 1956. Several plays have been successfully tested and produced in this complex geological region. The main exploration focus is currently on the deep plays. However, this paper proposes a so far unrecognized and therefore undrilled play in a shallower level to broaden OMV's portfolio in Austria. Seismic re-interpretations of reprocessed 3D seismic data and structural reconstructions were used to review some of the existing plays and get novel ideas from improved understanding of processes. In the frontal accretion zone of the Alpine wedge, the Waschberg-Ždánice zone discoveries are limited to the frontal thrust unit and associated structures. The more internal parts of the thrust belt have only sparsely been drilled and are perceived not to have high-quality reservoir rocks. The detailed structural interpretations indicated that the foredeep axis during the Early Miocene was positioned in the thrust sheet located directly in front of the advancing Alpine wedge (comprising the eroding Rhenodanubian Flysch in its frontal part). Seismic amplitude anomalies can be interpreted to represent Lower Miocene basin floor and slope fans. Nearby wells did not penetrate these fans but drilled instead shale-dominated lithologies. Thus, the presence of potential sand-rich fans in front of the advancing alpine wedge is considered a potential new play in Lower Austria. Analogues are found in Upper Austria some 250 km to the West, where several large gas fields in Lower Miocene deposits located in front of the advancing Alpine wedge have been discovered by another operator. In that area the fans are only partly involved in the fold-thrust belt. In Lower Austria, these fans are located within the rear thrust sheet(s), providing a structural component to a mixed structural-stratigraphic trap. Two potential charge mechanism can be considered: a) biogenic gas charge from the organic matter of surrounding shales (like the Upper Austria analogues) or b) oil charge via the thrust fault planes from the Jurassic Mikulov Formation (the proven main source rock in the broader area). Our results add to the understanding of the Miocene structural-stratigraphic evolution of the Alpine collision zone. The definition of a potential new play may add significant value to OMV's upstream efforts in a very mature hydrocarbon province.
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Joppich, Andreas, and Hermann Haselbacher. "Pneumatic Fuel Feeding of a Directly Wood Particle Fired Gas Turbine Under Special Consideration of Low Conveying Air Ratio." In ASME 1999 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/99-gt-353.
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In order to reduce the production of green house gases, the combustion of biomass has been gaining importance in electricity generation. Especially the direct combustion of biomass in gas turbines of a few MW output would offer a very attractive option because of low investment costs and high operational flexibility. Therefore, since 1991 the Institute of Thermal Turbomachines and Powerplants at the Vienna University of Technology has been working on realising a wood particle fired gas turbine with direct combustion. With reference to earlier studies (c.f. Hamrick (1991), Fredriksson and Kallner (1993)), it had been concluded that the design and the operating characteristics of the fuel feed system would strongly influence the combustion and so would be a very important part of the whole facility. Following an overview of the planned gas turbine test facility including the combustion chamber and the recently installed pneumatic fuel feed system, the paper will deal with three basic requirements of fuel feeding in the case of a directly fired gas turbine: feeding against back pressure, continuous fuel flow rate and a low conveying air ratio, which is the ratio of fuel conveying air to total combustion air of the combustion chamber. While the first two requirements, i.e. feeding against back pressure and continuous feeding, are briefly considered, the minimisation of the conveying air ratio is discussed in detail. For instance, important parameters affecting the conveying air ratio are fuel moisture, combustion air ratio and, in particular, techniques. Following theoretical estimation of the conveying air ratio, results of fuel feeding measurements are presented and conclusions drawn with respect to system integration.
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Phạm, Thị Thủy Chung. "Religious Object” Exhibition in the Context of Cultural Change and Covid-19 Social Distancing (Case studies of Khmer’s Nagar boat in the South of Vietnam) | Trưng bày hiện vật tôn giáo trong bối cảnh biến đổi văn hóa và giãn cách xã hội do Covid-19 (Trường hợp ghe ngo của người Khmer ở Nam Bộ, Việt Nam)". У The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-30.
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The museums, nowadays, facing to many challenges in religious objects exhibition. Especially, in the current context of Covid-19 pandemic and cultural change, regular methods of the museum exhibition expose many limitations. Through a case study of ghe ngo (the Khmer’s Nagar boat) exhibition at the Vietnam Museum of Ethnology (VME), this paper discusses some principles dealing with the religious objects in the museum, and outline some modern display methods that can contribute to improving the display efficiency of ghe ngo exhibition towards the museum sustainable development. Trưng bày hiện vật tôn giáo vốn đặt ra nhiều thách thức đối với các bảo tàng. Đặc biệt, trong bối cảnh Covid-19 và biến đổi văn hóa hiện nay, các phương thức trưng bày truyền thống thể hiện nhiều mặt hạn chế. Qua trường hợp ghe ngo của người Khmer đang được trưng bày tại Bảo tàng Dân tộc học Việt Nam, bài viết này thảo luận về việc ứng xử với hiện vật tôn giáo, tín ngưỡng trong bảo tàng, và một số phương pháp trưng bày hiện đại nhằm góp phần nâng cao hiệu quả trưng bày ghe ngo của người Khmer hướng tới mục tiêu phát triển bền vững bảo tàng.
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Baranov, Timofey, Anastacia Galimova, Georgiy Sansiev, Sergey Gusev, Viacheslav Terentev, and Gennadii Fedorchenko. "New Approaches to Geological Uncertainties in STOIIP Estimation for Greenfield in South Vietnam Shelf." In 2018 AAPG International Conference and Exhibition. American Association of Petroleum Geologists, 2019. http://dx.doi.org/10.1306/30609baranov2019.
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Ha, Giang The, Ngoc Dinh Tran, Huy Huu Vu, et al. "Design & Implementation of CO2 Huff-n-Puff Operation in a Vietnam Offshore Field." In Abu Dhabi International Petroleum Conference and Exhibition. Society of Petroleum Engineers, 2012. http://dx.doi.org/10.2118/161835-ms.
Full textReports on the topic "Vienna International Exhibition"
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bin Ahsan, Wahid, Imran Hossain, Habibur Rahman, et al. Global Mobile App Accessibility: A Comparative Study of WCAG Compliance Across 12 Countries. Userhub, 2024. http://dx.doi.org/10.58947/mxrc-rzkh.
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This study assesses the accessibility of mobile applications across twelve countries, including the USA, Vietnam, Turkey, Ireland, and South Korea. Our evaluation of 60 popular apps reveals a widespread failure to meet the Web Content Accessibility Guidelines (WCAG), with Vietnam exhibiting the highest average of 41.2 violations per app. These violations were particularly prevalent in essential areas such as touch target size and color contrast, critical for users with visual and motor impairments. Despite robust accessibility laws such as the Americans with Disabilities Act (ADA) in the USA and the European Accessibility Act (EAA) in the EU, our findings indicate a significant gap between these legal frameworks and their practical application. Our study highlights the urgent need for a multifaceted approach that includes strict enforcement, enhanced developer education with a focus on cross-cultural accessibility, and international cooperation. This research underscores the importance of integrating accessibility as a core component of digital infrastructure development to ensure mobile applications are truly accessible to all users.